ALICE, DARLING
Anna Kendrick plays Alice, a woman at the end of her emotional and physical rope. Her toxic relationship comes to the forefront when she lies to attend a week-long vacation with her best friends. As her personality becomes increasingly manic, her secretive behaviors and stories of Simon raise red flags for those closest to her. 
Simon’s psychological manipulation appears in many forms. The constant beratement, the gaslighting, the incessant need to control Alice’s appearance, her whereabouts, what she eats, and when she communicates with him. 
Simultaneously frightening and punchable, Charlie Carrick plays Simon with loathsome energy. Kaniehttio Horn, as Tess, brings tough cookie energy. It’s a wonderful balance for Wunmi Mosaku playing Sophie. She arrives with a genuine mother-hen vibe. As tensions rise, Mosaku serves as a mediator and mender. These three women complement each other perfectly. It was a joy to watch such grounded performances.
Anna Kendrick is captivating as Alice. Writer Alanna Francis hands Kendrick a gift by giving the character the hair-pulling disorder, Trichotillomania. She is the physical embodiment of anxiety. Her naturally petite frame and stature lend themselves to heightened physical frailty. But it is Kendrick’s idiosyncracies that place you inside the mind of a woman consumed by terror.
The script’s structure occurs in three distinct acts. The subplot of a local missing woman presents the viewer with a myriad of emotional and narrative possibilities. The gravity of female friendship and the innate protective instincts we carry loom large. The fear women face on a day-to-day basis feels weighty in the narrative. ALICE, DARLING is a keen reclamation of power through the love and support of their fellow sisters.
SYNOPSIS: In the taut thriller ALICE, DARLING, Oscar® nominee Anna Kendrick (Best Supporting Actress, Up in the Air, 2009) stars as a woman pushed to the breaking point by her psychologically abusive boyfriend, Simon. While on vacation with two close girlfriends, Alice rediscovers the essence of herself and gains some much-needed perspective. Slowly, she starts to fray the cords of codependency that bind her. But Simon’s vengeance is as inevitable as it is shattering – and, once unleashed, it tests Alice’s strength, her courage, and the bonds of her deep-rooted friendships.
First-time director Ric Maddox, alongside writers Sean Crampton and Jordan Wisely, brings the story of an elite ex-Navy seal with PTSD placed in a top-secret government rehabilitation program. Using criminal civilians as bait, can our soldier in question be saved? A twist on The Most Dangerous Game (1931) meets Universal Soldier (1992), THE STALKING FIELDS is an action-packed entry into a potential new franchise.
The dialogue has a uniquely poetic perspective at times but quickly becomes contrasted by innumerable F-bombs. I say this as a person who has a sailor’s mouth, and this felt excessive. The quick-take editing has all the horror genre elements. From the lighting to the angles, it is visually intriguing. I must applaud the creativity in location design. Besides the woods, the military behind the scenes could easily take place in a cleverly lit warehouse walled off entirely with plastic sheeting. That budget must have been astronomical. I have to hand it to the CG team for some legit graphics on each monitor. They had my eyes darting from screen to screen. Bravo for the detail.
As a self-professed Gleek, the series contains so much information I didn’t know. Safety issues, money, and around-the-clock nonstop work, from the mouths of friends, crew members, and entertainment reporters, The Price of Glee pulls the curtain back on all the behind-the-scenes drama and addresses the all too familiar internet rumor that the show may be cursed. Episode one concludes with Cory Monteith’s death and ends on a cliffhanger. Episode two picks right back up where we left off, focusing mainly on the aftermath of Monteith’s passing. Delving into Mark Salling’s child pornography conviction and subsequent suicide, this episode melds into the third with Naya Rivera‘s father speaking about her tragic death.
Transitions between conversations feature video clips and cast photos. My main gripe with episodes two and three is the repetition of said images. A show that spanned six seasons deserved fresh photos. It was a glaring amateur mistake. Is THE PRICE OF GLEE a touch like an E! True Hollywood Story? Very much so, but as a fan, I was endlessly intrigued, hoping for any new information. While the cast has come forward to say they were not involved, hearing crew members that genuinely cared for them and with (mostly) kind words, their insight is vital to understanding the immense pressure this phenomenon created.
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Steve Balderson‘s films are rather distinctive. Their lush visual impact sticks in your brain. His newest film, Alchemy of the Spirit, is no exception. Possessing a dreamy, even otherworldly look, Balderson makes the mundane glow. The quiet becomes claustrophobic. As the film begins, the sound editing alongside the score creates an unsettling feeling. The audience resides inside the manic mind of a grieving man. At 23 mins and 10 seconds into the film, we get a shot that elicits every emotion tied to this film. The symmetry, artistic and of two souls as one, is breathtaking. You will not miss it. There is a Picasso-esque madness to it. Balderson thought about its impact as it is the current key art for the film. Very smart. That sense of panic eases once introduced to a languid score of Debussy, Bach, and other classical beauty. While the darkness lies just under the surface, the screenplay’s nuances extend beyond what I expected from the first third of the film.
Sarah Clarke, as Evelyn, is chilling and beautiful. Her voice, combined with soul-piercing imagery, is haunting. The grounded chemistry between Clarke and Xander Berkeley plays with a familiarity of real-life lovers, which makes sense as the two actors have been married since 2002. Berkeley, who I recently lauded in 
The idea of “the proper way to grieve” is front and center. How do we honor the dead? How do we mark the life we have? Oliver creates a literal death mask both as a means to stop time and keep Evelyn’s spirit alive. We get to explore the meaning of life through memory. The film easily could have been a stage play. It is dripping with theatricality. Alchemy of the Spirit is a genre-bending ode to art and romance. It’s a visual love poem.
Even though the script overflows with tropes, they are masterfully woven into a compelling narrative. As multiple complications arise, the camera finally moves in a smooth dronelike manner. Then the gore hits us right in the face. *nudge, nudge, wink, wink* I would pay so much money to experience YULE LOG again in 3D. No, seriously. Also, don’t for a moment think you have the slightest idea of what comes next. YULE LOG is absolutely deranged and ridiculously entertaining.
Performances are outstanding. The commitment to the absurd is perfection. With shocking emotional swings and spectacular editing, there is not a slow moment. How Adult Swim managed to sneak in a last-minute horror film without Warner Bros. knowing blows my mind. It’s a holiday miracle. The creativity applied to this low-budget and undeniably genius production makes it one of the finest genre films of the year. YULE LOG is a Willy Winka mindfuck of a revenge horror. Don’t dare leave before the credits. You’ll miss out on writer-director Casper Kelley’s original theme song. It’s one final bizarre and brilliant stocking stuffer.
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Locke’s script sets a solid pace, with details of her daughter’s disappearance slowly revealing themselves, unrequited love, past regressions, and secrets boiling over. Darlene’s ex-brother-in-law lands on her doorstep under the guise of a surprise family reunion, but his ulterior motive involves a revelation in Sally’s case. The information he’s been sitting on as Darlene relentlessly searched for Sally, became an advocate for other families, and got her alcoholism under control. The rage and fear evolve into a knockdown, drag-out fight between redemption and revenge. 
Compounded by the raging snow outside, any turmoil coming from the house is more than muffled. This simple device proves to be a wonderful segway for Gretchen to reenter the story. 
Here is where I felt like
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The noteworthy turn comes from Cindy’s neighbor Doc Zuess. John Bingham, whose character is reminiscent of Roberts Blossom from Home Alone, is brilliant. His performance legitimizes The Mean One, bringing it out of its Hallmark moments.
The gruesome kills are juxtaposed with a sick soundtrack (and one brilliant oral sex scene), top that off with a particularly shocking choice of violence. When Tori witnesses the act, our killer Santa goes ham on the house. The words, “Oh! That’s fucking nuts,” poured out of my mouth as he breached the threshold. I would be surprised if you didn’t end up saying the same.
Riley Dandy and Sam Delich give spectacular performances. Given writer-director Joe Begos‘ meaty fandom-laced dialogue, they look like they loved every minute. The discussion about horror sequel superiority had me cheering out loud. 
Steve Moore‘s original music is bitchin’. The practical fx are a gift. The pyrotechnic work keeps things merry and bright. The special makeup and Animatronic robot effects from Josh and Sienna Russell are a Christmas miracle. Will everyone compare it to Silent Night Deadly Night meets Terminator? Probably but who cares. CHRISTMAS BLOODY CHRISTMAS is a holiday horror treat. So, spike your eggnog, get as lit as your tree, and rock the hell out of this film.
Director Jordyn Romero bonded with Sanu over their love of surfing, a predominantly male-dominated sport. Sanu’s fearless pursuit of wanting to become the first female surf instructor from Sri Lanka lies beyond the horizon. In Sanu’s words, “We Are Like Waves. You cannot stop us.” This simple act of rebellion is certain to have a ripple effect. Romero brings audiences a relatable story told with grace. Boasting a beautifully encompassing score, WE ARE LIKE WAVES sees Romero and Sanu carve a path for the next generation.
The script slickly combines historic iconography from the plague to mirror current events and builds upon the concept of mass hysteria and mental health. Mitton introduces demonology and then mixes in the idea of viral internet posts, an issue directly addressed in 
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Daniel Craig returns as Benoit Blanc, the debonair southern detective. This time around, Blanc is invited to an isolated Greek island by billionaire Miles Bron (Edward Norton, giving Elon Musk post-burning man vibes.) Bron has invited several of his closest friends for a weekend getaway that just happens so happens to include a murder-mystery game. Things go wrong faster than you can say “bad idea.”
I was worried that Glass Onion would suffer from an overreliance on Craig’s detective. Knives Out benefited immensely from a core focus on Ana de Armas’ fish-out-of-water character. The film smartly employs him as a foil for its many new cast members. The new faces are stellar across the board. Janelle Monae shows incredible versatility. Leslie Odom Jr. and Kathryn Hahn have the tough job of playing the respective sticks in the mud while the rest of the cast gets to have fun. Kate Hudson and Dave Bautista really let it rip. We’re used to this from Bautista, but it is a particularly welcome departure for Hudson. As I reflect back on the past years of the pandemic, her character provides particular hilarious relief. There are also several delightful cameos. I won’t spoil them for you, but suffice it to say it seems like nearly everybody wanted in on this thing.
Whodunit films seem to be light work for Rian Johnson. His 2005 debut, Brick, was an exceptionally hard-boiled film noir that just happened to be set in a high school. Despite their common director, Brick and Glass Onion could not be more different. Where Brick was pitch black noir down to its very bones (even down to the dialogue), Glass Onion is a sun-drenched delight inspired by holiday mysteries such as Evil Under the Sun and The Last of Sheila. It provides necessary effervescent support as we head into the cold winter months. I can’t wait for the next chapter!
Yale University’s meticulous record-keeping in the Sterling library proves invaluable. After scanning 60, 000 pages in the microform media room, the aha moment appears; a 1959 letter between 
Kimi’s traumatic childhood and Russia’s national political upheaval created the perfect ticking time bomb of existence. He and Marusya needed each other to stay alive, but unresolved trauma is a killer lying in wait. Through marriage, rehab, divorce, and Kimi on a headlong downward spiral, Marusya must find other ways to dull the inner chaos. She had to decide, make a plan to live, or join her innumerable friends in suicide.
The systemic failure at Fort Hood will leave you seething. After two months of desperate outcry, the Army finally makes a statement and begins to search, but it is too little too late. With the pro bono help of maverick lawyer Natalie Khawam, The Guillen family takes their fight to Capital Hill. 
I remember this story. I remember feeling so angry when I heard how long Vanessa had been missing before I heard about it on the news. Then, when the details emerged of her murder and subsequent failure at Fort Hood, I was disgusted. Those feelings returned and multiplied as I watched this film. Understanding the extent of their coverup will blow your mind. The military justice system allows for secrecy and discretion to sweep everything under the rug. It is beyond broken.
Victoria Moroles is Jane. Her precociousness is spot a delight. Segan gives her dialogue deliciously reminiscent of Dawson’s Creek, i.e., she is far too eloquent for fifteen. Her chemistry with Segan is comfortable and endlessly amusing. Her takedown of the film’s misogynist energy is chef’s kiss.
Writer-director-star Noah Segan plays Francis as a Yiddish-spewing loaner. His penchant for a happy-go-lucky attitude is more function over form. We learn about his deep-seated loneliness and unresolved trauma, which creates an equally funny and tragic persona. Segan gives a star-making performance.
BLOOD RELATIVES is an undeniably fun vampire coming-of-age family film. Heartwarming, silly, and intimate, it is easy to see why it garnered so much attention in the festival circuit. Shudder is the perfect platform for Segan’s madcap creation. I formally request a sequel when Jane gets to college. I have to know where this family unit ends up. Don’t forget to bring Fieldner along.
Annet Mahendru gives Alice palpable manic desperation. Her ability to jump from one emotion to another in the same breath is impressive. It is one hell of a turn. Milo Gibson is Dave Hayes. His character arc almost feels like the audience is witnessing a slow-motion car crash. Gibson brings not-so-subtle anger and protective alpha energy. 
MANIFEST WEST addresses a myriad of current and alarming themes in America. The score is melancholy and ominous. Writer-directors Joe Dietsch and Louie Gibson use the girls’ history text as a smart foreshadowing device. Antigovernment sentiment compounds the simmering chaos. Add Alice’s deteriorating bipolar disorder, and you have a powder keg. Children learn from their parents, for better or for worse. MANIFEST WEST runs head-on with its relevance to a shocking conclusion.
The intimate nature of Bad Axe is visceral. The Siev family could be anyone’s neighbors. They are friendly, hardworking, and respectful members of their community. They bug each other as much as they love each other. They remind me of my holidays when all four siblings invade our childhood home with inside jokes, arguments, and an unconditional adoration for one another. 
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